I live in an old house with thin walls, on a street full of strange sounds. When I can’t sleep, I listen. I wrote this landscape as I was working on a collection involving writing outward, extending my consciousness from the personal into the social, and making my writing more permeable to the world around me. I really do have a cracked window (that the landlord refuses to fix), and I started with that image and followed it.
Evan Goldstein on "Landscape with Morning Coming On" |
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"An Interview with Eloisa Amezcua"
"I was captivated by the tension between Bobby and his career, Bobby and Valorie, Valorie and Bobby’s career—everywhere I turned throughout my research, the tension was present, it grew and grew and grew. In writing the poems that would become the collection, I wasn’t looking to explain or to provide answers, so much as I was hoping to invoke this tension through language and form."
via PEN AMERICA |
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What Sparks Poetry:
Michael Kleber-Diggs on Sun Yung Shin's The Wet Hex
"Here’s what I didn’t even actually notice until I’d completed both laps through The Wet Hex—at a certain point I put my pencil down. I fell away from concern for craft and entered the poet’s world. For quite a while there, I forgot to think and felt my way through instead—guided by an expert, open." |
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